Renaissance Art

Informe del estudio y excavación del Palacio del antiguo Concejo de Jumilla (siglo XVI).

by Francisco Gil González

Memorias de Arqueología, 11, 1996. Murcia.
Emiliano Hernández Carrión, Francisco Gil González

Previamente a las tareas de rehabilitación del Palacio del antiguo Concejo de Jumilla, edificio del siglo XVI, se hizo... more Previamente a las tareas de rehabilitación del Palacio del antiguo Concejo de Jumilla, edificio del siglo XVI, se hizo un estudio del mismo, así como una excavación de urgencia en el interior del edificio, para documentar la cimentación de la fachada principal y sus momentos de uso.

El inmueble está catalogado con el nº 22.015, en el Conjunto Histórico de Jumilla, declarado Bien de Interés Cultural por Real Decreto 3382/1981, de 27 de noviembre de 1981 (B.O.E. nº 21 de 25-1-82). Los escudos que se ubican en el inmueble tienen la consideración de Bienes de Interés Cultural por la Disposición Adicional Segunda de la Ley 16/85 de 25 de junio del Patrimonio Histórico Español. Tras su rehabilitación aloja la sección de arqueología del Museo Municipal “Jerónimo Molina”.

ΣΥΜΜΕΙΚΤΑ. Collection of Papers Dedicated to 40th Anniversary of the Institute for Art History, Faculty of Philosophy, University of Belgrade (Edited by Ivan Stevovic), forthcoming May 2012

by Ivan Stevovic

Kalligrafi og kosmografi. Om tysk tegnekunst omkring år 1500 (Calligraphy and Cosmography. On the Art of Drawing in Germany around the Year 1500)

by Mikael Bøgh Rasmussen

Jérémie Foa et Nicolas Vidoni, Catherine de Médicis. Un destin plus grand que la prudence, Paris, Garnier, 2012.

by Jérémie Foa

Enrico Rocchi, ingegnere militare e storico. [Enrico Rocchi, military engineer and historian]

by Piero Cimbolli Spagnesi

In: QUADERNI DELL'ISTITUTO DI STORIA DELL'ARCHITETTURA, ns, 44-50, 2004-2007 (Saggi in onore di Gaetano Miarelli Mariani. A cura di M.P. Sette, M. Caperna, M. Docci, M.G. Turco. Roma 2007); pp. 261-272. ISBN 978-88-7597-401-5, ISSN 0485-4152

Storicità di Gustavo Giovannoni e del suo 'diradamento edilizio'. [Historicity of Gustavo Giovannoni and of his 'building reduction']

by Piero Cimbolli Spagnesi

In: Gustavo Giovannoni. Riflessioni agli albori del XXI secolo. Atti della giornata di studio in onore di Gaetano Miarelli Mariani, 1928-2002 (Roma, 26 giugno 2003). A cura di M.P. Sette; pp. 41-56. ISBN 88-7597-372-5

Albrecht Dürer, Sebastian Brant und die Holzschnitte des »Narrenschiff«-Erstdrucks (Basel, 1494). Ein forschungskritischer Einspruch

by Annika Rockenberger

Published in 'Gutenberg-Jahrbuch', 2011

I discuss the question whether Sebastian Brant (as a "Visierer") or Albrecht Dürer can be identified as the... more I discuss the question whether Sebastian Brant (as a "Visierer") or Albrecht Dürer can be identified as the authors of the famous woodcuts that illustrate Brant’s "Narrenschiff" (Basel, 1494; aka 'Ship of Fools'). I examine all available data (i.e. historical sources) and reconstruct the main arguments of art historians, historians and literary critics on the topic and thus reach the conclusion that one might assume, but cannot affirm, that Dürer in fact might have been the crucial artist. But by the same token, it might similarly have been possible that a whole workshop (with our without Dürer) was responsible for the creation of the woodcuts, or that individual artists in various workshops collaborated on this huge printing project.

Slike vezane uz Francesca Pesellina u zbirci Strossmayerove galerije starih majstora: problemi atribucije i radioničke produkcije (I quadri legati a Francesco Pesellino nella collezione della Galleria Strossmayer: i problemi d'attribuzione e di produzione di bottega)

by Ljerka Dulibic

published in Renesansa i renesanse u umjetnosti Hrvatske, Zbornik Dana Cvita Fiskovića II. / Predrag Marković ; Jasenka Gudelj (ed). - Zagreb : Institut za povijest umjetnosti ; Odsjek za povijest umjetnosti Filozofskog fakulteta Sveučilišta u Zagrebu , 2008. 79-88 (ISBN: 978-953-6106-75-2).

Na primjeru slika iz zbirke Strossmayerove galerije povezanih s imenom Francesca Pesellina razmatra se specifična... more Na primjeru slika iz zbirke Strossmayerove galerije povezanih s imenom Francesca Pesellina razmatra se specifična problematika radioničke slikarske produkcije 15. stoljeća. Istraživanjem djelovanja toskanskih majstora i njihovih radionica zastupljenih u Strossmayerovoj galeriji otvaraju se pitanja načela rada u slikarskim radionicama 15. stoljeća, širenja utjecaja i predložaka, dotiče se problematika produkcije za umjetnička središta i one za provinciju, odnos invencije i vulgarizacije, odnos kiparstva i slikarstva, pa i kontekst društvenih okolnosti. Na ovome mjestu prezentirano je nekoliko oglednih primjera čija problematika upućuje na takav pristup.

Giovanni Bellini, Sveti Augustin i Sveti Benedikt; Vittore Carpaccio, Sveti Sebastijan; Cosimo Rosselli, Bogorodica s Djetetom i dva anđela; Sljedbenik Bernardina Pinturicchija, Bogorodica s Djetetom, svetom Katarinom i donatorom; Mariotto Albertinelli, Izgon Adama i Eve iz raja; Marco Palmezzano, Krist nosi križ; Giovanni Battista Moroni, Portret muškarca

by Ljerka Dulibic

published in Tizian, Tintoretto, Veronese - veliki majstori renesanse (Tizian, Tintoretto, Veronese - Great Renaissance Masters), ed. Radoslav Tomić, exhibition catalogue, Galerija Klovićevi dvori, Zagreb, 2011.

Jean Bourdichon: The Virgin in Prayer

by Nicholas Herman

Co-authored with Susie Nash. Published in Late Medieval Panel Paintings: Materials, Methods, Meanings, ed. Susie Nash (London: Sam Fogg, 2011), 226-232.

'Ut certius et melius ipsum depingeret': Observations sur la production tardive de Jean Bourdichon

by Nicholas Herman

Published in Peindre en France à la Renaissance: Courants stylistiques au temps de Louis XII et de François 1er, ed. Frédéric Elsig (Milan: Biblioteca d'arte Silvana Editoriale, 2011), 209-25.

Excavating the page: virtuosity and illusionism in Italian book illumination, 1460-1520

by Nicholas Herman

Published in Word & Image: A Journal of Verbal/Visual Enquiry 27.2 (June, 2011), 190-211.

Dalla spiaggia di Nettuno. Difese dello Stato ecclesiastico in età moderna. [From Nettuno's Beach. Defenses of the Church's State in Modern Age]

by Piero Cimbolli Spagnesi

In: CAPERNA, Maurizio (editor). Il forte di Nettuno. Storia, costruzione e restauri. ROMA: Gangemi Editore. 2006; pp. 70-86. ISBN 978-88-492-1180-1

Carlo Maderno in S. Pietro: note sul prolungamento della basilica vaticana. [On Carlo Maderno and St. Peter: Notes on the Extension of the Vatican Basilica]

by Piero Cimbolli Spagnesi

In: QUADERNI DELL’ISTITUTO DI STORIA DELL’ARCHITETTURA, vol. 25-30 (1995-97) (Atti del convegno L'architettura della basilica di San Pietro. Storia e costruzione, Roma, 7-10 novembre 1995). G. Spagnesi editor; pp. 261-268.

Oosterwijk - Vive l'amour. Lovers and Death in the Medieval Danse Macabre

by Sophie Oosterwijk

Published in Stefanie Knöll (ed.), Frauen – Sünde – Tod (Düsseldorf: Düsseldorf University Press, 2010), 9-26.

Rembrandt's 1639 etching of 'The Lovers and Death' is one in a long line of illustrations on the theme of youth... more Rembrandt's 1639 etching of 'The Lovers and Death' is one in a long line of illustrations on the theme of youth encountering death. Earlier examples can be found in the medieval Danse Macabre tradition, which in turn had their roots in depictions of Adolescentia in the Ages of Man. The idea is that youth is too focussed on love (or lust) and vain pleasures to heed the possibility of an early death. Either singly or in pairs, young men and maidens are greeted by the grim spectacle of a putrefying corpse that embodies what they themselves must become when death robs them of their youthful bloom. Yet the moralising nature of earlier texts and depictions makes way for more titillating interpretations in Renaissance art, whether it is Death preying upon couples or on hapless nubile women.

Faith, Paragone and Commemoration in Durer's' Christomorphic'Self-Portrait of 1500

by Grażyna Jurkowlaniec

proofs of the article published in:
Faith and Fantasy in the Renaissance: Texts, Images, and Religious Practices, ed. Olga Zorzi Pugliese, Ethan Matt Kavaler, Toronto: Centre for Reformation and Renaissance Studies, 2009, pp. 209–228 (Essays and studies, 21)

“The Uses of Artistic Imagery According to Medieval Traditions of the Church and the Applications in Portuguese Renaissance Painting”. IN: ArteTeoria – Revista do Mestrado de Teorias da Arte, Faculty Fine Arts, University of Lisbon, n. 9, 2007, pp. 35 – 52.

by Rui Oliveira Lopes

Renaissance art: A very short introduction

by Geraldine Johnson

Published by: Oxford University Press, 2005. (Translated into Chinese, Greek, Turkish, Thai and Vietnamese.)

"Images of terror and the construction of morality", in Art & Society. Lisboa: Faculdade de Belas-Artes Universidade de Lisboa, 2011, pp. 54 - 75

by Rui Oliveira Lopes

Clients italiens des orfèvres de Paris sous les derniers Valois

by Marc H. Smith

L’orfèvrerie parisienne de la Renaissance, trésors dispersés [expos.], dir. Michèle Bimbenet-Privat, Paris, 1995, p. 209-221